Red XIII – Perceptions

Whether UK metalcore annihilators Red XIII have realised the immense promise which brewed within their debut album of 2010 with their new EP Perceptions is questionable but certainly the enthralling six track release is going in the right direction whilst easily placing the Blackpool quartet as already one of the more original and refreshing emerging breaths, or should that be roar, in the genre not only in Europe but possibly worldwide.

Riding roughshod over audiences since 2006 with their uncompromising yet adventurous sound, Red XIII has earned intense attention from fans and acclaimed responses from the media through the aforementioned album Better Safe Than Sorry, as well as impressive passionate performances alongside the likes of Sylosis, Liferuiner, Heights, Betraying The Martyrs, Texas In July, Heights, and The Arusha Accord to name just a handful. The new release shows the band at its most destructive and creative to date and though the leap has not been as potent as anticipation imagined going by their already high standards it is a big step forward for the band with Perceptions easily standing out amongst similarly engineered sounds in the genre and a great many metal releases in general.

Released via Transcend Music Label Services, the EP opens with the immediately intriguing Sleeping Giants, its initial progressive wind loaded to a brooding bass and twisted riffs accompaniment. Installing a groove which whips head and passions from their slumber, the track unleashes rhythms from drummer Tim Clark which cage, poke, and explore the senses the further into the song you go whilst the bass of Ivan Coulburn offers a rapacious presence from first note to last, its presence a predatory link between the drum incitement, the flames sonic class of guitarist Jason Dean and the excellently continually shifting vocals of Sean Donovan. His delivery stalks a range of squalling provocation and malice dripping growls to ride the extensive grooves and invention of Dean like a tempestuous beast.  The fact that the song and release as a whole does not always push the envelope and limits of its most potent elements is really the only ‘flaw’ you can lay at their doors, the track walking the lip of full adoration and addiction causing might but never quite taking that last leap of faith. Despite that the opener is an immense introduction which the rest of the songs only qualify in their individual and richly pleasing stances.

The following General Disarray takes a mere second to bombard the ear with another delicious groove and even hungrier rhythms within an earnest and rebellious intensity. Into its stride the track is a storm of ferocious rhythmic punishment and persistently encroaching and thrillingly evolving guitar abrasion built on impressive sonic invention and acidic melodic persuasion. As before the vocals of Donovan come in multi-brewed venom, at times almost touching a clean gait whilst cruising the full gamut of scolding malevolence. It is a monster of a song with a craft which leaves one magnetised during and after its confrontation.

Trainwreck explores the senses with a sonic web of enterprise before allowing a ridiculously addictive bass lure to escape its flame and the vocals to score the now mesmerised senses with primal spite. It takes no time though for the track to unleash an exhausting corrosive breath and unrelenting caustic hardcore rough handedness. With a gait as unbridled in its assault as the unique vindictiveness the track, it taunts and erodes the defences with energy every bit as violent as a derailment but with more purposeful and direct targets. Without reaching the heights of its predecessors the track easily leaves a hunger for more of the abusive thrills offered whilst suggesting there is still much more to come from the band, again a comment which can be levelled at Perceptions as a whole.

Next track The Bitch grabs top honours on the EP, its emergence from a dawning raptorial charge and bone splintering rhythmic beckoning into a tsunami of deeply coloured sonic endeavour and rabid intensity guided by the heavy fisted great vocals of Donovan and matching bass snarl exceptional. In some ways the track seems unsure of its direction yet everything it entwines around its impressive body and the ventures brutally explored only lead the passions to erupt with greed and want for more of its unpredictable foraging of the senses and emotions, especially its progressively sculpted and wholly seductive climax.

The final pair of songs, Illuminate and Exploding Pet, expose the listener to more creative fire in songwriting and its unreserved barbarous realisation, the first of the two a fusion of hardcore and metal savagery carved into a compelling slab of excellence almost as equal to the previously mentioned gem and the closing song which lives up to its outstanding title by whipping the senses with industrial strength lashes of barbed riffs and similarly vicious rhythmic intrusion. It is a mighty conclusion to a formidable and wholly impressive release. Ok Perceptions still loudly hints that the band has some way to go before unearthing their full potential but it still stands above most other metalcore releases with ease and ignites a sure anticipation of a real classic in their future.

https://www.facebook.com/redxiiiband

8/10

RingMaster 07/05/2013

 

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Beyond the Shore – Ghostwatcher

   

     Though Ghostwatcher, the new album from metalcore band Beyond the Shore is not rifling the senses with anything dramatically new or before unheard, there is no denying the release is one beast of an album which leaves a sure and invigorating satisfaction behind. The Lexington-Fayette, KY quintet has released something which is as skilfully accomplished as it is destructively hungry but also finds a middle ground between extremes to heartily feed the appetites of all fans from metalcore, hardcore, and metal.

Formed in 2008 whilst its members were still at school, Beyond The Shore has evolved in sound and craft into an attention grabbing senses exploring brute of a band as evidenced by the new album. Since forming the band has shared stages alongside the likes of Born Of Osiris, Shai Hulud, MyChildren MyBride, Of Machines, and After The Burial, as well as drawing strong attention through their The Arctic Front EP in 2009 and subsequent single Shotgun Sunrise. The five-piece entered a studio to record Ghostwatcher last year before talking with many labels about releasing it. Eventually they and Metal Blade Records reached a deal to unleash the impressive album and expectations of its virulently addictive presence point to the band breaking through to new heights of recognition.

Opener Dividers is a short seizure of the ear bursting from an ominous ambience into a clutch of staccato bled riffs and firm rhythmic persuasion.  The vocals of Andrew Loucks immediately show a range from guttural growls to squalling confrontation, he delivering a seamless blend which certainly ignites a healthy dose of interest alone. Musically the track does the business too without lighting fires but at its briefness also has no time to agitate any doubts before handing over to Half Lived. The second song rampages with djent clustered strikes and ravenous rhythms from drummer Chris “The Lieutenant” Stinnett, easily capturing the imagination even if again not being outwardly innovative. Where it does excel though is the hunger each area of the track has to devour the senses with enterprise and the again impressive vocals, where a clean delivery shares the stage with the scowling passion. What also stands out is that nothing is taken to extreme but still holds a distinct character, the clean vocals snarling to avoid any sappiness and the bestial assault holding a restraint to offer clarity to the lyrical intent. The vocalist also has no fear in switching within the space of a few words his style and continually doe sit with a fluidity which only impresses. By its conclusion with an excellent guitar solo blaze grabbing headlines too, the track makes the strongest persuasion with matching rewards.

The best two moments on the album follow immediately in the dramatic shapes of Transitions and Homewrecker. The first is a furious furnace of uncompromising drum violation and equally predatory bass spite from Eli Masharbash, but it is the outstanding guitar invention and imagination of Zach Hunter and Jared Loucks which seal the deal. Opening with a Korn like beckoning and plunging bass resonance, the track wraps the ear with a gentle sonic caress before forging this restraint to an urgent and carnal rhythmic attack. As mentioned the guitars shape and sculpt the heart of the song with a siren like craft which the vocals once more exploit with inventive greed. Though the band has a metalcore centre the soak of other flavours like technical and nu-metal bloom potently ignite stronger fires. The second of the two is a harder violent proposition, an irresistible violation of malicious intent and invention. In the eye of its storm though there is a mellower progressive breath at large which is unexpected and works well, the band escaping its caress before it unbalances the thrilling savagery.

Across the synapse twisting Glass Houses, as well as Milestone, and #Dreamkiller, the band continue to bring variety and compelling malevolent encounters though all tracks lyrically look to the light in their challenging themes. The middle song of the three is an instrumental which is nicely crafted and intriguing with the electro element of the band given a full atmospheric rein. It does not quite fit in the album for personal tastes, accomplished and engaging though it is it feels just like an interlude before the action restarts, which it does with vengeance on the latter of the three songs. The track snarls and gnaws on the ear with a sonic progressive insidiousness leading the second line behind again intrusive intensity of energy and aural aggression.

A further pinnacle comes from Breathe on Ice, a hypnotic twist of metalcore and hardcore invention veined with the seduction of the devil as well as a venomous imagination which also only he could have bred. It is another exceptional track which cements the energised passion triggered by the release within. Ghostwatcher may not be the most original or unique album to thrill your ears, hard to argue that issue, but it is certainly one of the most powerfully rewarding.

https://www.facebook.com/beyondtheshore

8.5/10

RingMaster 05/04/2013

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The Last Legion: Conspire EP

Though you cannot say the debut EP from UK metallers The Last Legion is a release which has a distinct voice and presence amongst the numerous metalcore/melodic hardcore bands which have emerged over the past couple of years or so, it certainly offers the promise and evidence within its quartet of impressive tracks that the band is on the right course to find that uniqueness. The Conspire EP is an accomplished and satisfying release from a band that employ existing sounds and ideas in their own inventive way and though the release maybe does not ignite raging fires within for its enterprise and offerings it certainly intrigues and marks the band as one to keep a steady eye and ear upon.

From South London the quintet blend strong technical metal intent with an aggressive metalcore passion whilst inventive progressive and melodic flames add extra heat to the powerful union. Since forming in2010 the band has made steady and potent strides forward with last year their most intensive to date and seeing the band sharing stages alongside the likes of Silent Screams, Against The Flood, Carcer City, The Charm The Fury, Demoraliser and Liferuiner, whilst this year already looks just as active and potent live but with their first release to ignite things further. The Adam Getgood (Periphery) released EP is a vigorous first step to a wider awareness and the initial move towards what it suggests will be a successful future.

First track Guardian emerges from a sonic bristling of guitar and atmosphere to entwine the ear in intimidating rhythm, with the bass of Alex Bramwell immediately grabbing its own corner of focus through a controlled but openly hungry presence, and skilled inventive guitar lures from Ali Marshall and Chris Tierney. The song takes no time in stealing the march on the senses accosting them with melodic and intense energy before they can breathe whilst the diversity of the vocals is a pleasing adventure to come to terms with. Lead vocalist on the EP is Steve Kerr ably supported by Marshall and Bramwell, and between them from impressive clean coaxing of the ear to the squeezing squalls and ravenous belligerent growls the united effect works a treat. Admittedly the clean vocals excel over the other approaches with ease but each attack finds its place in the song and scheme of things given time.

The following BeakBreakers teases and punishes the senses straight from its first gulp of energy, the guitars coaxing with sonic elegance and simultaneously splintering bone with djent malevolence and the thumping impressive drums of Jake Ardley. The musicianship within the band is skilled and keenly sculpted for the strongest effect, this song arguably the band at its strongest and most creative. Mid-way in to the track the progressive heart of the band has its moment to escape the destructive malice and mesmerises the listener with delicious melodies and again superior clean vocals. The track soon reverts to its inciting poison and climaxes with aural spite and thrilling violence with the only niggle coming from the song fading out, just a personal bug-bear though.

Both Standing Like Steel and Angels And Demands continue the great sounds and songwriting, the first wrenching on thoughts and emotions with provocative anger and seducing melodic beckoning whilst the final song on the release chews and gnaws on the ear with enterprise though it is the least successful song on the EP.

As mentioned The Last Legion does not stand apart from the rest quite yet but the Conspire EP is full of an invention and craft which will surely evolve and brew that individual stance within the genre in the future. The release is more than worthy of taking up your time and offers up a rich satisfaction and occasionally an incendiary passion to feast upon.

A name your own price release join the first steps of one very promising emerging band @ http://thelastlegion.bandcamp.com/

https://www.facebook.com/TheLastLegion

7/10

RingMaster 19/03/2013

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Karma Zero: Architecture of a Lie

    Though it takes its prime breath from death core Architecture of a Lie, the debut album from French metallers Karma Zero has plenty of corrosive additives to place it apart from the majority of emerging bands within the genre. The release is a rabid and destructive brute of an album with senses ravaging and intrusive violence its prime directive but throughout it teases and seduces with an imaginative and passionate invention which you cannot fail to fall before. Whether it just wears one down into submission or manipulates with devious hidden alchemy the album and band eventually and certainly gained an exhausted and ardour driven recruit to their intent.

Formed in 2008 the band from Nantes brings a feverish blend of metal, metalcore, and electro to its deathcore heart, a sound which has seen the band earned strong support and responses in their homeland. Their self-titled EP in 2009 marked the band as  a promising rising force, that feeling soon supported by their performances alongside the likes of Madball, Shining, and The Arrs as well as successful festival spots at events such as Hellfest Metal Corner and Motocultor. Recording their first album with Stéphane Buriez (Loudblast) in 2011, Karma Zero is primed to explode into a much wider receptive recognition with its recent release via Ultimhate Records.

The title track sparks things off by immediately pounces on the ear with bone snapping beats and ravenous riffs completed by equally predatory vocals. It is an assault which sets you back on your heels to then draw you straight in to its grasp with a maelstrom of sonic textures and a hunger driven intensity. The brawling vocal attack which shifts from a duo to a three prong attack is outstanding but initially distracts from the musical creativity going on beneath its snarl. Into its stride though the track opens up its arms to allow every element to takes its potent place in the course of the song and enriches the senses with a wealth of aggressive variety.

As the following Next Time and No Answers state their individual declarations the album continues to offer a magnetic lure and oppressive malevolence brought through strong musicianship and invention. The two songs do not quite light up the fires within as much as the first but still easily impress even if they arguably are two tracks which bring a more expected genre stance before the ear. The album is not one to rest on its laurels though and the further into its savagery it goes the stronger its imagination and greed to explore increases with songs like Frozen Angel and the outstanding Hidden Law stretching their boundaries and ingenuity with compelling creativity. The first of the pair transfixes the ear with militant riffs but bewitches with an emotive electronic ambience that leaves thoughts drifting into their own interpretation of the narrative. Finely crafted in its moments of reflection musically and dangerously nasty with all weaponry cascading upon the senses in other times, the track is a major highlight of the release soon surpassed by its successor. Hidden Law expels its deepest guttural spite to crawl all over the fierce sonic flames and uncompromising rhythms, its rapacious malice a unique delicious poison for the ear and insidious nectar for the passions.

Through the likes of the voracious Grown Up and the flesh scorching Ghosts the band leave further welcome scars whilst bringing one last elevated triumph with Snake, the most experimental and track on the album. As unfriendly as it is contagious, the song is a magnet for the passions with its riveting expanse of flavours, styles, and character.

Architecture Of A Lie is a decisive and inciting introduction to a band which one senses is heading towards making a strong mark for itself in European metal. Watch out Karma Zero is coming to feed upon your weaknesses.

https://www.facebook.com/pages/Karma-Zero/123916180370

8/10

RingMaster 15/03/2013

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Anchored By Avarice: Axillion EP

     Encapsulating the listener in a sonic furnace of heat, intensity, and passion, the Axillion EP from UK metallers Anchored By Avarice is a corrosive invigorating fire which extinguishes the air from lungs and replaces it with incendiary promise and awe. To be honest the release is so accomplished and captivating that it is a finished confrontation in its own right but you still feel there is much more to come from the band in imagination and craft, let alone further uniqueness.

The quintet from Wakefield formed in June 2011 and set about creating a tempest of invention and melodic destruction. Primarily you can declare the band a metalcore onslaught but with scorching flames of djent, hardcore, and melodic death metal to their confrontation, it is a sound which has a distinction and imagination which sets the passions ablaze and marks the band as a rising target for attention and acclaim. Already having unleashed live scourges upon stages alongside the likes of Villa Rise, Silent Screams, Our People Versus Yours, The Omega Particle, Carving a Giant and The Colour Line, the band is currently in the midst of a UK tour, dates to be found on their Facebook profile, and on the evidence of Axillion this is one band not to be missed if threatening your town.

Opening track Endless Corruption sidles up to the ear with seductive sonics and mesmeric keys filling a subdued ambience with slight agitation and compelling beckoning. It is a brief invitation before a surge of senses buffeting riffs and crisp unforgiving rhythms stretch and ignite their muscles, the initial elegant caress still in place but with a stronger acidic and cutting breath. The vocal squalls of Tom Bellamy immediately grab attention, their almost accusing forceful brawling tone a step above most and with a clarity which ensures the lyrical passion has full reign to impact on the listener. Into its full stride now the djent manipulating riffs from Danny Widdowson and Andy Parkinson ravage the senses whilst their adjacent sonic guitar whispers are loud and compelling throughout the track to perpetually whisk thoughts away from the unrelenting ferocity into evocative climes. It is a song which has little restraint in any aspect but a craft and composure to its creation which balances everything perfectly for an enthralling and unpredictable experience, something which applies to the whole release.

The following Furies of Charbydis instantly bewitches the senses with sonic mastery and sparks whilst chewing the synapses with ravenous raptorial riffs and punishing rhythms, the bass of Jack Bhogal mauling with a rabid hunger and intent whilst the drum beats of Blue Thorn resonate in ear and bone with a resonance and spite which is immeasurable. The song is a stirring blend of melodic persuasion and sinew stretching intimidation woven together with immense thought and skill so that each facet and extreme seamlessly and instinctively flows alongside and within each other. Admittedly whether, like in all songs, there is enough which lingers in the memory after the song has fled the scene is debatable but this is a band still evolving and the remembrance of how impressive tracks and the EP were as they burnt savagely upon the person is in no degree debatable.

Substance For Slumber is a stunning beast of fury and passion with a sonic and melodic embrace that explodes and entices like a siren. Arguably the song has less open temptation than the first pair but replaces it with more drama and emotive intensity to provoke and inspire an equal depth of satisfaction and ardour for its expressive and innovative storm. Because of its continually shifting gait amidst the torrent of breakdowns, crippling rhythms, and melodic intrigue, the song is one track which leaves a longer lasting voice behind, the expanse of ideas and emotion an inciting yet spellbinding brutal tide.

The title track is the fullest triumph of the release, its highest pinnacle. From its math/technical metal beginning hex, the track explores with riveting erosive breath and an equally captivating quarrel through consistently testing and teasing switches of position and sound entwined into one galvanic bruising treat. As elsewhere the vocals leave their stinging mark with quality and belligerence whilst the guitars perform a sonic alchemy to compliment the barrage of lethal richly defined rhythms from bass and drums.

The closing Resentment simply confirms the quality and strength of Anchored By Avarice and the release, its tight and explosive stance a final rousing instigator upon the by now lustful passions. The Axillion EP is an exceptional release which makes a towering declaration of how exciting and creatively powerful the band is and excitingly will be.

www.facebook.com/anchoredbyavaricewakefield

9/10

RingMaster 02/03/2013

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Promethee: Nothing Happens. Nobody Comes, Nobody Goes

    Last year the single Sickness Unto Death from Swiss metallers Promethee whipped up a strong wind of excitement and expectation for their debut album, its intrusive and enveloping storm of imagination and destructive craft a formidable step on from their earlier impressive self-titled EP. The song also made a suggestion of something remarkable in the future mists of time. Now Nothing Happens. Nobody Comes, Nobody Goes has stepped forward to answer those hopeful and eager expectations.

      The album is a staggering brute of a release, an immense tower of venom, intensity, and creative imagination. It satisfies all wishes and expectant thoughts before exceeding their limits with further ingenuity. It is fair to say the album does not rip open new avenues for melodic and progressive metal/metalcore but brings a new and invigorating interpretation of prevalent sounds from within the existing inventive sphere. In fact the album ignites real passion for its ferocious might and inventive annihilation whilst its technical skill and unpredictability has the senses dizzy whilst within a numbed state from all the malevolent abuse.  Since forming in 2008, the band has earned and garnered a deserved wealth of acclaim of which an elevation due to this outstanding album will not be a surprise, in fact is expected.

Released through Bad Moon Records, Nothing Happens. Nobody Comes, Nobody Goes is a ten track leviathan of intrusive and towering sounds coated in an understanding and deeply rewarding craft. As soon as opener The Great Deception sidles up to the ear on an atmospheric raw breeze, the senses are engaged and then thrown into willing turmoil by the brawl of gnawing riffs and corrosive energy permeated by a sonic enterprise which leaves one drooling. Wanton grooves and teasing melodic shards of light shower from within the intense breath of the song to further the already brewing rapture erupting out for only the first track of the release. The guitar craft and imagination of Ludovic Lacroix and Elric Doswald is as mesmeric and captivating as it is intimidating whilst the squalling abrasion of vocalist Joshua Orsi trawls the emotions off of a spine of irresistible rhythms from bassist Mathieu Tappolet and drummer Nils Haldi to incite the primal and emotive heart.

It is a sensational combination and start continued as powerfully by the following Banner Of Lies and Buried. Both tracks rip the synapses asunder through djent spikes and merciless sonic violation, the first a malicious onslaught of devastating inventive chaos leading into the emotive tempest of the second. The latter of the pair smoulders and burns within the ear and though brief in stature lingers long after its departure though the hellacious presence of the excellent Of Loss And Disgust soon after dominates as if the only thing in the world. One of the biggest pinnacles on the album, the track throws the listener into a bedlamic fury of twisted grooves and sonic mania driven by a fierce energy and rhythmic hunger which resonates long after its last violent gasp. A perpetual wash of progressive ingenuity and melodic urgency the song also caresses and kisses the ear as tenderly if forcibly as it erodes and consumes fearsomely elsewhere.

The Geneva quintet continue the blistering confrontation through the equally immense Life/Less, a track with a depth and character dripped in turmoil and vengeance, the brief and masterful Genesis with its hybrid whispers of Korn, and The New Face Of Mankind, another varied assault of innovational expertise. All three send flames of thrilled emotion through the body only to be exceeded by the brilliant Thus Spoke and the previously mentioned single Sickness Unto Death. Thus Spoke is a muscular furnace of hypnotic sonic malice and rib cracking rhythmic tension. As with all the songs and especially the biggest triumphs on the album, the track is a continually evolving exploration of light and dark, passion and shadows which is reported through a magnitude of ingenuity and invention.

     Nothing Happens. Nobody Comes, Nobody Goes is a colossal album which offers a richer and deeper experience as well as a more impressive one the more time spent within its corruptive squall. Fusing essences marked in the likes of The Faceless, Cryptopsy, and Architects, Promethee has made the first towering statement of the year for extreme and metal in general.

www.facebook.com/prometheemusic

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

Conjuring the vision: an interview with The Afterimage

Photo by: Brooks Reynolds

The Afterimage is one of the imaginative and creative new bands to explode onto the metal scene initially in their homeland Canada and more recently Europe, this year. Their outstanding debut EP Formless is an introduction to a band which fuses flavours of extremes and melodic spicery into a sensational and unpredictable adventure. Given the opportunity to ask the band more about themselves and their release we had the pleasure of talking to vocalist Kyle Anderson and guitarist Alex Lappano.

Hi and welcome to The Ringmaster Review

Firstly tell us about The Afterimage, its conception and intent as a musical force.

Kyle: The Afterimage was formed in December 2011.  I (Kyle) had been fronting a project before that called ‘Centuries Apart’ which Alex was involved in briefly.  Alex and I stuck together and recruited drummer Nick McCaslin and bassist Dallas Bricker shortly after.  They were involved in a project with Alex previously and were a great fit.  Mike Ticar was later added on guitar a few months after.

You have been a band around a year and in that time made a major impression at first in your home state Ontario and now beginning to worldwide. Has it seemed a bit of a blur or have you had the chance to reflect and enjoy as things brewed and grew?

Kyle: In all honesty this has been amazing for us.  We never imagined having some of the interest we’ve had in our material.  We’re just having fun playing music we enjoy making.

From the outside Ontario appears a potent breeding ground for metal and rock bands; is that the reality and how has the area affected you as a band if at all?

Kyle: It has definitely had a huge impact on us through our time in the heavy music scene.  Growing up listening to a lot of great bands from the area and being impacted by their performances and records always inspired us to create ourselves.

You just released your outstanding Formless EP across Europe, have the highly positive responses surprised you?

Kyle: We are very surprised about this!  We never imagined we’d be able to release the EP in Europe and that in and of itself is  a blessing.

The tracks show a wonderfully diverse and pulsating blend of sounds, who are the major influences which if not inspiring your sound, has influenced the way you look at and create it?

Kyle: We actually have some major influences outside of Metal.

For instance…

Jaga Jazzist, This Town Needs Guns, Toe and The Bulletproof Tiger are all huge with our guitarist Alex who handles a lot of the writing.

In terms of Metal, Meshuggah, Ion Dissonance, Danza and Tesseract would be some big ones.

Musically it is fair to say you bring many sub genres and flavours together for a unique result. For newcomers how would you describe your sound to best represent your imaginative creations?

Kyle: I’d say we’re a Progressive Metalcore band if you want to use a title.  We just fuse chaos and melody.  That’s how I’d put it simply.

How do the songs, from seed to final creative explosion, come about within the band?

Kyle: Like I said before Alex handles the majority of the writing.  He had a lot of the ideas locked away for quite some time and we refined them for the release of ‘Formless’.

You have found a strong and eager audience and response in Canada, has Europe and the UK taken to the same things as your countrymen in your sound and EP or picked up on and found an ardour for different elements?

Kyle: I find the response is pretty similar.  I’d say groove/rhythmic aspects are bigger in the UK but the chaotic parts are generally received well over here.

Is the Canadian underground metal scene one which is wrapped in its own ‘juices’ or takes plenty of influences from elsewhere and how does it help new bands like yourselves?

Kyle: I’d say the influence comes from everywhere.  With the internet being the a huge force for distributing and sharing music it’s become quite easy to keep track of projects from all over.

Tell us about the writing and recording of Formless.

Kyle: As I said before a lot of the riffs were already compiled by Alex in his archives.  We re-worked structure and tweaked a bunch of things about a month before recording.

In terms of the recording, Jordan Valeriote (Structures, Counterparts, Silverstein) produced and engineered the EP.  He is an absolute pleasure to work with and we will continuously go back to him.

Photo by: Brooks Reynolds

Reverie  the single from the EP which we said had a maniacal mastery through the sonic mayhem of the guitars and offered elements of jazz and improv to its chaos. A fair reflection of what is an immense track in your thoughts?

Alex: I’m extremely picky with what I like to hear, and due to this I find that I always end up writing songs that jump back and forth from each side of the musical spectrum. For example; with heavier styles of music, I love chaos and abrasiveness, but on the other hand, I’m a huge sucker for melody and instrumentals that can express emotion. On top of being extremely picky, I get bored very, very quickly, so I try to keep myself constantly entertained with the music. So I’d say my attention span (or lack thereof) is what leads to having dissonant chromatic sections followed with a melodic passage! I hope that answered your question!

What were your hopes for the EP with its release in Europe?

Kyle: We honestly had no idea how that was going to go, but so far Ghost has treated us great and we’re quite happy with the response!

Are you itching to come over this side of the world to play and when are we likely to have the pleasure?

Kyle: We’re not sure of the when right now, but it’s something we’d love to do as soon as possible!

What is next for The Afterimage, an album maybe?

Kyle: We’re currently finishing up writing the full length album, although no release dates/plans have been made as of yet.

You released Formless through Ghost Music; is this union one which goes beyond that release and how have you found them in comparison to how your releases at home have come about?

Kyle: Toyan from Ghost Music has been great to us. He’s an extremely nice guy and very organized. We have nothing but great things to say about Ghost!

What are your plans for the end of the year and hopes going into 2013?

Kyle: Just playing our city Toronto, ON.  2013 will consist of touring and working on the full length.

Great thanks for sharing time to talk with us here, any last words or thoughts you would like to end with?

Kyle: Just want to say thank you for interviewing us, and make sure you check out our new single ‘THE SEEKING’!  It’s a free download.

https://www.facebook.com/TheAfterimage705

Read the review of the Formless EP @ http://ringmasterreviewintroduces.wordpress.com/2012/10/30/the-afterimage-formless-ep/

The RingMaster Review 23/12/2012

Copyright RingMaster: MyFreeCopyright

Avastera:The Clocks Have Ticked Too Long

On the eve of making a big splash across the globe with the release of their debut The Clocks Have Ticked Too Long EP, to emulate its success in homeland Australian earlier in the year, Avastera is set to be a noisy whisper of the lips of a great many. This is a band which defies pigeon holing such the eclectic flavours and styles veining the exciting sounds created within striking and compelling songs. The music is not arguably unique, the spices making up the aural recipes openly familiar but no one else is brewing up the same kind of stirring encounters as the band.

Starting out in the early weeks of this year, the Perth quintet has made a major impression in a very short time. From recording and releasing the EP to great acclaim and success in Australian a few months back, the band has shared stages with the likes of Silverstein and The Getaway Plan whilst lighting up a festival as a chosen headline act alongside Mayday Parade, The Pretty Reckless, The Wonder Years, A Skylit Drive, The Maine, Forever The Sickest Kids and Marinas Trench. Press attention has also been keen and led to the band featuring on cover CDs for Blunt and Big Cheese magazines. Produced by Paul Leavitt (All Time Low, Yellowcard, The Dangerous Summer). The Clocks Have Ticked Too Long is set to grab the world by the scruff of the neck and make a very persuasive argument for the band, as though as stated it may not be the most ground breaking or even original release it is without doubt one which is very enjoyable.

Avastera cleverly and seamlessly infuse strong essences of alternative rock, melodic post-hardcore, and metal into a pop punk core leading to engaging and appealing songs with plenty of passion, energy, and invention. The music is certainly distinct to the band if at times familiar from the multi-flavoured essences employed but without question the EP is a continually intriguing and pleasing encounter right through to its very end from the opening treat Hear Me Out. The track alone tells you all you need to know about the band and their imaginative intent. The song is an immediate compulsive encounter of forceful rhythms and pop punk urgency completed by sturdy riffs and angular sonic guitar invention which offers an Avenged Sevenfold like heat to the melodic coaxing. The guitar work of Chris Crole and Chris Hanssen is exceptional whilst the rhythms of bassist Dave Thoomes and drummer Jamie Savage are unrelenting in strength and inventive composure. It is clear to hear that the band has a musicianship equalling their imagination which undoubtedly allows the songs to fuse so many potent flavours into an immense creation of their own, with vocalist Mike Lang the striking and impressive pinnacle to spear the songs forth.

It is a mighty start followed up just as strongly by As The Tables Turn and December Sun. The first of the two is veined by wonderful bright keys amongst the muscular riffs and thumping rhythms to start the diversity which marks the release. With extra metalcore tendencies and symphonic caresses to captivate, the track is magnificent and the best on the release. As it plays one band comes to mind, The Urgency though they do not arguably have the same palate of sound which Avastera work from or the Atreyu like muscle which the Australians also infuse. The second is a slower emotive wash of passion and thoughtful ambition further unveiling the expanse to the sound of the band.

Next up This Beautiful Nightmare continues the dynamic start though the song is a close mix of the previous two songs without finding their heights, but with the persistently skilled guitar enterprise and perpetually evolving landscape of the song it is a more than welcome companion. As the song and the following pair dance with the ear and thoughts the feeling that the band will soon emerge with a unique guitar sound, like the aforementioned Avenged Sevenfold has, is rife such the distinct style of the band. Highways From Home is another to match the earlier songs and an energetic partner to the senses which one would assume is a crowd favourite whilst Ms. Conception is another to engage fully without lighting the same fires as elsewhere. All the tracks reveal a band which is as powerful in sound as it is in constructing the canvasses their play works with, the songs unmistakably finely crafted and composed. Add the accomplished artistry of each member and you have a release which only catches the imagination.

Completed by a fine acoustic version of December Sun, one can only recommend The Clocks Have Ticked Too Long and Avastera to all melodic rock fans especially those of groups previously mentioned and others like All Time Low, Mayday Parade, and A Day To Remember. The Aussies are coming feel free to enjoy.

www.facebook.com/avasteramusic

RingMaster 01/12/2012

Copyright RingMaster: MyFreeCopyright

Fates Upon Us: Self Titled EP

In a year of what seems like a flood of emerging metalcore type bands, to truly standout from the masses a release needs to be exceptional and instantly inventive. Whether the debut self titled EP from Yorkshire band Fates Upon Us is such a release is debatable but the five track EP certainly marks the band as one full of obvious promise and refreshing imagination. The finding of their distinct voice is an assumption you can only see the band fulfilling ahead whilst their first release certainly elevates them enough within the ranks of similarly fuelled bands, to make them ones to watch closely.

Formed in August of last year, the Sheffield quintet took no time in finding a keenly receptive local audience to their live performances and sounds, a repeating occurrence as they slowly ventured out into the whole county and beyond. Good success in heats of the Corporation Battle Of The Bands competition has followed their strong beginning as well as a UK tour with Gold Skies Ahead. With comparisons to the likes of Asking Alexandria, A Day To Remember, and Bullet For My Valentine placed upon them, the band now unleash their debut release with a destined national awareness and fervour on their horizon.

Don’t Hate The Player, Hate The Game starts off the storm with resonating and intimidating riffs matched by towering rhythms and oppressive intensity. It is not a ferocious entrance but one which ensures instant focus in its direction. The vocals of Danny Costello send squalls of vehemence across the landscape of the song  whilst the guitars of Carl Tyler and Danny Hattersley fire flames of accomplished sonics and blistering melodic shards upon the senses. As a scowling predator the track is excellent but does suffer a little with the inclusion of clean vocals and an accompanying dip in intensity. It is not enough to unsettle the track but hindsight, after the others songs have stated their claim and disrupted the air, does offer a little surprise as to why certainly the vocals do not work as strongly as elsewhere where the cleaner tones are easily as impressive as the growling consumptions.

Nevertheless it is a  great start which is immediately elevated with the full steam stomp of Have Fun Storming The Castle, a track as unbridled in its passion and energy as it is in rifling the ear with sharp riffs and contagious ideas. The vocals are spot on in both extremes of delivery to put previous slight wrongs in context whilst the rhythms of Carl Jackson thump and barrack the ear with little restraint or mercy. As mentioned earlier whether the track is distinct enough like the release as a whole to garner the full praise it maybe deserves is arguable but as a feisty companion it leaves one wanting very little more.

The third track If Cats Had Opposable Thumbs brings another flaw, this time in its production levels which are too low so the track sounds like it is playing from a room away. It is a shame as the track itself is great but the drop does override the enjoyment somewhat. The track itself is a brawling confrontation merged with expressive melodic imagination and stirring energies. By this point though that similarity to other bands is strong, Fates Upon Us offer plenty to suggest their future sound will see them rise from the pack. The immersive mellow and enveloping weaves from keys and vocals sink seamlessly into the harsher heart of the song to show skilled craft and thoughtful endeavour to the songwriting, not something which can always be applied to other bands.

Back at full levels, Boys, We’ve Struck Gold is an instant winner, its expressive warm gentle initial tones erupting into a furnace of demanding yet rewarding aggressive and inventive ventures. The track barges one to the ground, leaving you a bruised victim to its intense anger but just as easily and passionately stretches out revitalising and reassuring melodic hands to steady and expand the heart to its imagination. Arguably for really the first time bassist Danny O’Keefe can step from the aural shadows to show his hunter skills as well as the continual depth he brings all songs. It is another exciting and captivating track offering great futures.

Closing with the relatively straight forward Hobo With A Shotgun, the EP is one which is impossible to lose in the pack whilst still within its stirring ranks.. Fates Upon Us though inspire expectations of great promise and a clear escape in the future to set them well apart from the throng.

http://www.facebook.com/FatesUponUs

RingMaster 25/10/2012

Copyright RingMaster: MyFreeCopyright

Holly Maddux – Don’t Bother Catching Your Breath

Let us start by saying if Holly Maddux is not acclaimed as one of the best and most inventive bands in metal within the next five years then something is seriously wrong. The band is breath taking and their debut album Don’t Bother Catching Your Breath one of the, if not the most inventive, adventurous, and imaginative album in a long time.

From just a stray posting on Facebook, we were led to a band and release which simply stokes up real excitement. Their sound and album is wonderfully unpredictable, an explosion of ideas and creativity which ventures far beyond expectations and limiting boundaries. Many bands try to push the envelope and like Holly Maddux fuse multiple genres and sounds together but it is hard to think of any as accomplished and downright thrilling as the sextet from New Port Richey, FL. Do not try labelling the band as it is impossible, they meld into their own unique sound everything from death and progressive metal, metalcore and hardcore, to melodic and experimental metal with plenty more to spice it all into a distinct flavour. Every one of the eleven songs is individual in sound and vision, an eclectic collection for hungry eclectic tastes. They are also as mighty as any extreme storm, each track barbaric and aggressive with moments of ‘tenderness’ to sooth the wounds and leave the senses in awe.

The band formed in 2008 and took no time in enrapturing the local scene with their fresh and distinct sound. Their impressive live show and energy led the band to being the local opening act for the Thrash-N-Burn and Night of the Living Shred tours of 2009 as well as plenty of stage sharing with major metal and hardcore bands thereafter. Don’t Bother Catching Your Breath is the next step to major recognition and if it turns out not to be the key to that lock it is still a giant stepping stone to that definite destiny.

The soothing sound of waves greets the ear with opener Open Seas, a brief instrumental whose atmosphere evolves into a breaking storm, an impending tempest which arrives in the shape of We’re Gonna Need A Bigger Boat. The track immediately stirs up the senses with bestial growls, guttural grunts, and venomous vocal squalls whilst a tight groove whips the ear like scything wind. It is a maelstrom of energy, the vocals at the centre with guitars and rhythms buffeting around them. Reaching its eye clean vocals suddenly breakout to settle the intensity though it takes no time in regaining dominance despite excellent weaves of keys. The band revolves through extreme metal and hardcore sounds impressively to leave one slightly shell shocked and grinning greedily. John Hickey and Kyle King share the keys and vocals throughout the album, and both are impressive with their blackened malevolent delivery near perfect and their clean attack more than impressive, and the blend expertly worked out and delivered throughout.

It is a great start but things only get better with the likes of the title track and Get A Load Of This doing more rewarding damage. The first barges through the ear with pure force but behind the storm there is a great prog jazz bassline from Pat Sherwood going on, it is partially hidden but with focus shines like a beacon within the oppressive brilliance. Guitarists Paul Ogorek and Billy Norton rampage and prowl in the song like rabid predators, a fury in their sonic heart brought through calculated precision and intent. The other track opens with a heavy metal based riff to again offer something different whilst the vocals are as deliciously abrasive as ever. It twists and explodes within the ear, its progressive nature an eager companion to the furnace in its belly.

The keys light up Fish Hands to offer a sonic scorching not yet explored on the album whilst the outstanding What It Do bitch slaps the senses into numbness with coarse destructive violation before switching into a rap metal like stroll reminding of Kennedy Soundtrack. The switch is seamless, organic, and a stunning fusion to drool over. The drums of John Young never stray from being an intimidating companion and he like the rest of the band over the whole album, is nothing short of impressive. The song continues through many gaits before its end to leave one even more enamoured as it leaves its last scar.

The towering What An Odd Thing To Say with its tumbling rhythms, rifling riffs, and scurrying metallic energy is arguably the best song on the album, though that choice does shift from play to play. It is another merciless beast of aggression and open imagination to incite the passions as do the following The Assailant and 43 Of 43, both downright magnificent, though every track fall into that category.

In case the clarity is not there, we quite like Holly Maddux… like as in placing them on our stalker list. Don’t Bother Catching Your Breath is easily one of the best things to corrupt and fire up the year and we suggest you let it ignite yours too.

https://www.facebook.com/HollyMaddux

RingMaster 06/10/2012

Copyright RingMaster: MyFreeCopyright

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